Bowie`s Past Image No Longer Dominant, But The Fire Remains

September 20, 1987|By JUAN CARLOS COTO, Special to the News/Sun-Sentinel

The androgynous and controversial image David Bowie generated in the early 1970s no longer plays a dominant role in his touring stage show, but the flash and glitter are alive and well.

His performance at the Orange Bowl on Friday night ranks with some of the most flamboyant rock concerts ever, with similarities to extravagant Broadway shows and outlandish B-grade science fiction films.

A huge, glowing 60-foot spider looms over the stage as a centerpiece to Bowie`s eclectic show. The Glass Spider extravaganza merges the 40-year-old British singer`s music with strong doses of interpretive dance and high-tech theatrics. Bowie first appeared descending from the spider`s belly on wires, reciting the opening lines of Glass Spider from his current album.

If the consummate performer proved one thing, it`s that he can flesh out his songs into full-fledged ``numbers.`` The show`s five dancers, sometimes surreal, always esoteric, extended the messages in Bowie`s music.

The high point of the two-hour-plus show came, however, when the dancers were off the stage, such as when Bowie and his six-piece band served up a driving rendition of Rebel, Rebel, which had the relatively small crowd of 25,000 on its feet instantly. They cheered in approval of his show, not seeming to mind the oft-criticized show gimmicks.

From a musical perspective, the players performed with precision and plenty of style. Guitarist Peter Frampton was probably Bowie`s best addition on the grandiose stage. His lyrical interludes and driving solos brought sizzling vitality to the repertoire. From the moment he kicked in with a solo during Glass Spider, Frampton was welcomed back into the 1980s with cheers.

One of his brighter moments came with a fiery solo during Loving the Alien, despite the fact that the dancers were in the background hanging off each other and flailing their arms.

Bowie`s recent turn to pop-oriented music seemed to fit in with the show, although the musical edge from his Ziggy Stardust days would have been a welcome addition.

The dancers and rambling dialogue in between numbers proved inconsequential to the music but Bowie definitely deserves credit for bringing something new to mainstream audiences.

In numbers like Fame, Fashion and the big hits Modern Love and Let`s Dance, Bowie, always vocally versatile, proved he and the band were intent on delivering a solid musical show.

Glen Burtnick, who opened the evening in a 45-minute set with songs from his album Heroes and Zeroes established himself as a straight ahead rock `n` roller with vocal range and finesse often reminiscent of a young Tom Petty.